I feel like I've known writer Sarah Rutherford for years... that's one of the positives of social media. The irony is it's her new play, The Girl Who Fell, about some of the negatives of social media that finally precipitated my meeting her in person.
A philosophising cat, a famished dog and a family of mites all make appearances - and strong impressions - in Mites, a new play by young British playwright James Mannion, written in the best traditions of the Theatre of the Absurd.
A Day in the Death of Joe Egg Q&A video and photos: What did the late Peter Nichols think of this historic West End casting?
I was back at Trafalgar Studios last night for this much-anticipated revival of Peter Nichols' 1967 masterpiece A Day in the Death of Joe Egg. And there was so much to discuss with this production, making history for a number of reasons.
The Permanent Way Q&A video and photos: Why is a play about railway privatisation more relevant than ever?
I was lucky enough to see the original Out of Joint production of The Permanent Way at the National Theatre in 2003. I remember being horrified by David Hare's verbatim play about railway privatisation, based on first-hand accounts.
Can you be a racist if you don't think you are? Is there a difference between racism and 'racist attitudes'? How do you find sympathy for white supremacists? By finding sympathy are we making excuses?
The Comedy About a Bank Robbery Q&A video and photos: From UK-wide tour to the West End with a new cast
What fun to return to the Criterion Theatre to see a brand-new cast put their stamp on Mischief Theatre's The Comedy About A Bank Robbery, as the first in a series of monthly post-show Q&As with the comic geniuses.
At this year's annual HighTide Festival in Aldeburgh, Suffolk, I was privileged to chair an hour-long "In Conversation With" platform discussion with legendary director Deborah Warner, reflecting on nearly 40 years in the business.
The Eyes of the Night Q&A video and photos: Using darkness to enlighten audiences about visual impairment
A middle-aged businesswoman hires a blind man to spend an hour with her in a hotel room. Why are they really there? Will she be able to experience the darkness in order to see the light?
Are you worried about the state of politics and society in the UK today? That's the question I asked at the start of last night's post-show Q&A at London's Lion & Unicorn Theatre. The hands of all my panellists and nearly everyone sitting across from them in the audience shot up.
Arrows & Traps' 18th production in its five-year history is also its tenth at London's Brockley Jack Theatre, where it is now an associate company, and its third in a Gothic trilogy. And it's a corker.